I am currently on vacation, so if there is any important film music news that has transpired in the last week or so, you will have to learn about it from each other on our Message Board (or perhaps, instead, from the rest of the Internet, whose name is Legion for it contains multitudes).

La-La Land was scheduled to announce its latest batch of end-of-year, "Black Friday" CD releases today.

November 29 - Russell Garcia begins recording his score for Atlantis the Lost Continent (1960)

November 29 - Alexander Courage's score to the second Star Trek pilot, "Where No Man Has Gone Before," is recorded (1965)

November 29 - Carl Stalling died (1972)

November 29 - George Harrison died (2001)

November 29 - Shirley Walker died (2006)

November 30 - Gordon Parks born (1912)

November 30 - Edward Artemyev born (1937)

November 30 - Victor Young begins recording his score for September Affair (1949)

DID THEY MENTION THE MUSIC?

FATHERS AND DAUGHTERS - Paolo Buonvino

"Despite its title, 'Fathers and Daughters' is only interested in one father and one daughter, and in one idea: that your childhood experiences help shape your relationships and actions in adulthood. That's not a particularly provocative idea -- when John Mayer has written a song about it, you know it's over -- but then, there's regrettably nothing very provocative about 'Fathers and Daughters.' Each plot point plods along with utter predictability. You know as soon as Jake enters an institution that he'll have trouble keeping Katie when he gets out, just like you know as soon as you see Katie hooking up with a guy at school that the film will characterize her actions as an effort to exorcise some demon. (The only surprising thing about the movie is that William and Elizabeth aren't childless.) With each big scene, the film signals hard via swelling music and self-consciously meaningful one-liners that you're meant to feel here."

Alissa Wilkinson, RogerEbert.com

"Indeed, nothing and no one in the film looks under-budgeted. So buttery in hue and finish is Shane Hurlbut’s widescreen lensing, and so syrupy Paolo Buonvino’s lavishly applied score, that one could be forgiven for exiting 'Fathers and Daughters' with a distinct hankering for pancakes. At times, Muccino seems only a further lick of varnish away from realizing his pic’s florid camp potential. However, as with its hero’s books -- a feast for fans of bad movie literature, boasting such tremulously read lines as, 'Yes, the tulips are beautiful … for now' -- the line between ersatz and genuine kitsch is hard to draw."

"There are some insightful, fleet touches to Egoyan’s film that point to a more successful synthesis of genre and character than is overall achieved. The way gun salesmen, border control officials and the grown up family members of the men he visits all assume that Zev is benign, simply because he is old. The way Zev plays two pieces of music in the course of the movie: one of them by the Jewish Mendelssohn, one by Hitler’s favorite composer, Wagner (a thought Mychael Danna‘s omnipresent score reflects throughout, often employing warring melodies played on separate instruments to suggest inner conflict). And there are times like when he first sits at the piano and wonders if he can still play, that it feels like the film is suggesting that the whole mechanism of vengeance, for a crime Zev cannot even remember, is playing out almost like a muscle memory; revenge as an involuntary reflex. But then the next daft thing happens, or the next overwrought point gets hammered home (like the wildly unnecessary coda at the end) and you realize you’re probably overthinking it."

Jessica Kiang, IndieWire

"Plummer lends considerable dignity and contained anguish to a character whose manhunt is complicated by his own constantly crumbling sense of self, though the strong supporting ensemble -- including Bruno Ganz and Jurgen Prochnow, distractingly latex-bound as two of the supposed Kurlanders -- finds few nuances in the thin, declamatory writing. Working overtime, on the other hand, to supplement the script is Mychael Danna’s molasses-heavy score, which piles on the strings (including sporadic klezmer-style motifs that seem to play in Zev’s headspace as flickering concentration-camp flashes) to undiscriminating effect."

Guy Lodge, Variety

"There's little sense of personal investment from the director, but Egoyan does what he can to keep the story moving forward, without getting bogged down in its implausibilities, which are too many to count. He plasters on Mychael Danna's nobly mournful score with overpowering insistence, but the undistinguished-looking film's few genuinely affecting moments are due to Plummer's skill at conveying the solitude and fear of a man confronted with the incontrovertible evidence of his diminished faculties. The veteran actor deserves better than this pseudo-serious pulp."